1. No category

2012 EDUCATORS’ ART FAIR
How-To Guide
Letter from the Education Departments
Teams of artists, art historians, educators, interns, and librarians comprise the award-winning education departments at The
San Diego Museum of Art, the Museum of Contemporary Art San Diego, and the Timken Museum of Art. Each institution
works with staff within the Museum and with colleagues from cultural and educational institutions throughout California to
provide programs that enhance the exhibitions presented.
Through lectures, tours, workshops, music, film, events for educators, and art making programs for visitors of all ages,
we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself
appreciating the wide array of art culture that is presented within each Museum and their complementary collections.
Whether you are new to art, or a long-time member who visits the Museums frequently, we invite you to bring your family,
grandchildren, and friends, and participate at The San Diego Museum of Art, the Museum of Contemporary Art San Diego,
and the Timken Museum of Art.
We look forward to meeting you and hearing about any ideas you may have about the Museums and our program efforts. We
hope to see you often!
The San Diego Museum of Art
www.TheSanDiegoMuseumofArt.org
The Museum of Contemporary Art San Diego
www.mcasd.org
Timken Museum of Art
www.TimkenMuseum.org
Cover Image: (Left) Faith Ringgold, Seven Passages to a Flight, hand-stitched quilt, 1955. Museum purchase, 41995.73.b. Middle: John F. Peto, In
the Library, 1900, Putnam Foundation Collection, Timken Museum of Art. 2000:001 Right and Above: Iana Quesnell, Triptych: Migration Path, 2007,
graphite on paper. Collection Museum of Contemporary Art San Diego, Museum purchase, Louise R. and Robert S. Harper Fund. © 2007 Iana Quesnell.
1
2012 EDUCATORS’ ART FAIR | Behold, America!
Table of Contents
2012 Educators’ Art Fair: Behold, America!
Letter from the Education Departments ....................................................................................................1
Learning Through Museums .....................................................................................................................3
Exhibition-Inspired Lesson Plans*
Presented by The San Diego Museum of Art
Faith Ringgold-Inspired Painted Story Quilt (Elementary; Grades K-5)* ...........................................4
Presented by the Timken Museum of Art
Symbolic Story Map: Identity (Middle School; Grades 6-8)* ...........................................................10
Presented by the Museum of Contemprary Art San Diego
Mapping Identity (High School; Grades 9-12)* ................................................................................14
California State Standards ......................................................................................................................19
Visual Art Terms Glossary........................................................................................................................20
Art Resources ..........................................................................................................................................21
Credits .....................................................................................................................................................22
Upcoming Behold, America! Related Programs ...................................................................... Back Cover
Young Art 2013: The Story of Me ............................................................................................. Back Cover
*Note: All lessons include suggestions for how to adapt them to other grade levels.
Faith Ringgold, Seven Passages to a Flight, etching and pochoir, 1995.
Museum purchase, 1995.73.a, The San Diego Museum of Art.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
2
Learning Through Museums
Behold, America!: Art of the United States from Three San Diego Museums is a bold collaboration between three
prominent San Diego art museums: The San Diego Museum of Art, the Museum of Contemporary Art San Diego, and the
Timken Museum of Art. The wide spread exhibition covers three centuries of American art, representing works from each
participating institution’s permanent collection and structured into three components: Frontiers (Museum of Contemporary
Art La Jolla), Forms (Timken Museum of Art), and Figures (The San Diego Museum of Art). This exhibition challenges viewers
to think about American art in new ways, and the lessons in this How-To Guide have been created by each participating
institution to serve as a foundation for exploring the exhibition content in all three locations and its connective thread of
identity more fully in the classroom.
Each lesson has been written for a specific grade level (from elementary to high school), but the artistic processes chosen
can be easily adapted to suit the needs of any student at any level. At the end of each lesson is a list of additional visual art
resources, including relevant works from the exhibition currently on view that relate to the media, historical context, or artistic
genre explored in that lesson. Through the lesson plans in this How-To Guide, you will be given the tools to integrate both art
viewing and art making into your curriculum and classroom.
The following lesson plans have been designed to help educators create elaborate classroom activities that will enhance
their students’ understanding of objects in the Behold, America! exhibition. The lessons presented here can be explored
solely in the classroom but are best supported with an accompanying field trip to the Museums, and can be used as a
resource both before and after the set visit. Through these lessons, students will be introduced to works of art currently
on view in the galleries, representing a wide array of artistic mediums, styles, and cultures that are most fully experienced
in person and through the accompanying projects. Viewing these works of art first hand will help to increase student
knowledge and understanding of the visual art subjects explored in the lesson plans and add realism to each topic of study,
further sparking student interest as well as nurturing thinking skills.
We are eager to meet your needs and assist you in making the most of your educational experience!
Sincerely,
The San Diego Museum of Art
www.TheSanDiegoMuseumofArt.org
The Museum of Contemporary Art San Diego
www.mcasd.org
Timken Museum of Art
www.TimkenMuseum.org
3
2012 EDUCATORS’ ART FAIR | Behold, America!
Faith Ringgold-Inspired Painted Story Quilt
Museum Exhibition Inspiration: Seven Passages to a Flight, 1995, Faith Ringgold, Hand-stenciled quilt,
The San Diego Museum of Art Permanent Collection
Grade Level: Upper Elementary (Grades 3-5), Adaptable to all grade levels
Author: Daniela Kelly, Museum Educator
GENERAL DESCRIPTION
Faith Ringgold is a contemporary African American painter, writer, mixed media sculptor, and performance artist, best known
for her content-rich painted story quilts. In Seven Passages to a Flight (1995), a hand-stenciled quilt by Ringgold on view
at The San Diego Museum of Art Forms portion of the exhibition Behold, America!: American Art from Three San Diego
Museums, the artist presents an autobiographical quilt form that, like much of her work, bridges the gap between painting
and quilt making. The images in the work can be found within the exhibition in two formats—a forty-two page book and the
quilt work—and connect to the artist’s experience and reflections on being a black woman in the United States. The center
of the quilt includes nine hand-painted etchings surrounded by a multicolor stencil border printed on linen, and completed
with a stitched and hand-painted, printed fabric border. Each of the nine images is a vignette, or scene, and is accompanied
by text that may confirm, contradict or refute it. In addition to its clear reference to African American cultural traditions, the
medium of quilting has great personal significance for the artist as it represents a five generations-long family practice that
she first learned from her mother.
In this lesson, students will view Seven Passages to a Flight (1995) and discuss the autobiographical work by Faith Ringgold,
and then have the opportunity to express their own story using image and text through the creation of a printed, mixed
media fiber work representing a unique moment in their own experience. Through this project, students will explore personal
narrative and learn how artists like Ringgold visually represent their identity through a variety of materials, techniques, and
aesthetic choices.
OBJECTIVE
Students will:
sgain
and discuss Seven Passages to a Flight (1995) by
Faith Ringgold.
sview
sunderstand
how and why artists make artistic choices.
art to visually represent their personal history and
identity.
a better understanding of who they are and what is
important to them.
slearn
the basic techniques and vocabulary of printmaking.
sexplore
pattern in a variety of mediums.
suse
sconstruct
screate
shand-stich
a mixed media work inspired by their personal
experiences.
a shape stencil from cardstock and apply it to
their work (optional).
fabric and add details to printed fabric using
paint (optional).
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
4
Project time: Allow approximately two and a half hours, one
30 minute and two 60 minute and sessions, from introduction
to completion. Additional time may be required depending on
the amount of detail work desired.
Prep time: Allow approximately an hour and a half to
research, prepare examples, and cut materials.
VOCABULARY
Introduce the project and discuss associated vocabulary
words: composition, contour, engraving, geometric, mixed
media, piece border, plate, primary colors, pattern, print,
quilt, stylus, textile, and to pull a print. Please see appendix
for vocabulary definitions.
CALIFORNIA STATE STANDARDS
Please see appendix for online and San Diego art suppliers.
Geometric border:
blue,
Piece border:
s12” x 18” white cotton fabric (one per student)
s12” x 18” white felt (one per student)
sTacky Glue (one small cup of glue for every four students)
sPlastic glue cups (one cup for every four students)
sLarge size glue brushes (one brush per student)
sPencil (one per student)
sRuler (one per student)
sScissors (one pair per student)
sSmall scraps of upholstery fabric (the quilt’s perimeter is 60”,
students will need approximately 65” of fabric in 2 inch wide
strips for the project). Tip: upholstery fabric can be bought
at upholstery fabric stores. Consider asking the store clerk if
they would be willing to donate fabric sample swatches
sImages of Ringgold’s work for reference (see Resources
section of this lesson)
Engraving and print:
s5” x 7” white drawing paper (one sheet per student)
sDull pencils (for sketching and scratching foam plate)
s5” x 7” Scratch-foam board to serve as printing plate (two
per student)
color set of water-based markers (e.g. Crayola; one
set for every four students)
sSharpie markers (one per student)
2012 EDUCATORS’ ART FAIR | Behold, America!
to implementing the lesson, create a finished example
of the project, as well as additional samples that illustrate the
steps of the project. Even if you choose not to share these
works with students, making these examples will help you to
have a better understanding of the lesson.
sArrange
a visit to The San Diego Museum of Art to view
Faith Ringgold’s Seven Passages to a Flight OR prepare
reproductions (available at www.TheSanDiegoMuseumofArt.
org) for presentation in the classroom.
sPre-glue
12” x 18” white cotton fabric the 12” x 18” felt
backing for each student.
Session One
PREPARATION
Plexiglas, disposable palette sheets and/or foam plates
sWater cups (one per student)
sPaper towels (to be shared among the class)
5
sPrior
Class Discussion and Quilt Construction
sSize 6 or 8, square-tipped, flat brushes (one per student)
sPalette (one per student) – as alternatives consider using
sClassic
PREPARATION
to students one of the many books by artist and
author, Faith Ringgold (e.g.Tar Beach). See the Resources
section of this lesson for other title examples.
MATERIALS
black, white)
water-filled squirt bottles (for spritzing the printing
plates prior to printing)
sRead
Please see appendix.
sRuler (one per student)
sPencil (one per student)
s8 ½” x 11” white drawing paper (one per student)
sColor pencils
sWater based acrylic paints (in the colors yellow, red,
sSeveral
sPencils,
rulers, and 12” x 18” fabric pieces. Set up all
supplies on tables.
Class discussion
In the classroom or through a docent-guided visit to The
San Diego Museum of Art, view and discuss as a group one
or more examples of Ringgold’s work. Consider posing the
following questions: How does this work tell a story, and
whose story does it tell? Where do quilts come from, how are
they made, and why might they be important to the artist?
What are the different parts of this quilt (inner vignettes,
geometric border, outer fabric border)? What artistic choices
might this artist have had to make when designing this story
quilt? Think about the story you would choose to tell in your
quilt.
For older students (middle and high school)
In addition to the above questions, have students use a
more complex visual and textual relationship. Explore the
possibilities of text and image refuting and contradicting each
other; discuss the relationship of text to image in Ringgold’s
work. Have students strive to create a unique narrative
relationship between image and text in their own works. Other
possible extension discussion topics in the classroom are
the history of quilting in the United States, the relationship
between art and craft, and exploring the concept of race and
identity in art.
CREATING THE OUTER AND
INNER BORDERS
Laying the lines for the outer fabric border
Note: If you sense that measuring using a ruler will prove
too challenging for your students, considering creating a 2”
cardboard strip (for the outer boarder) and a 1 ½” cardboard
strip (for inner border) for students to lay down and trace
onto their fabric to create their borders.
1. Demo for students how to use the ruler
and a pencil to create a series of joined
triangles (as seen in Ringgold’s work)
which fit within the 1 ½” inner border
previously outlined.
1. Instruct students that they will begin
by first drawing a 2” border around
the outer edge of their 12” x 18” fabric
piece. This will serve as a placeholder
for the final fabric upholstery border.
2. Demonstrate how to find the inch
measurement on the ruler. Have
students measure 2” from the edge
of the quilt inward and make a small
mark on the fabric. Repeat this step
every few inches on all four sides.
3. Mention to students that these marks will serve as a guide
to make a straight line with an equal distance from the
edge of the fabric.
4. Line rulers along the marks, secure ruler on surface, and
make a straight line exactly two inches from the edge
of the quilt. Repeat on all four sides creating a 2” wide
border.
Laying the lines for the inner geometric
shapes border
1. The geometric shapes border measures 1 ½”.
2. Encourage students to create this second border on their
own. They will follow the same steps taken to create the
first border, but will instead measure 1 ½” inches from the
inner edge of the upholstery border.
2. Using colored pencils and paper, have
students pre-design the pattern for
their geometric border that they will
ultimately create with paint.
3. Demo color mixing. Mix primary colors to create
secondary colors. To save on time, you may use premixed colors.
4. Distribute paints, brushes, palettes, water cups, and
paper napkins.
5. Prompt students to begin painting their geometric
pattern of their choice. To speed up the painting process,
students can begin by painting all the shapes of the
same color first before moving on to a second color. Tip:
To help students achieve a straight line with their paints,
use flat, square-tipped brushes and consider creating a
straightedge from a small stiff piece of cardboard. Line up
the straightedge along the line you want to paint and use
the edge of straightedge as a painting guide.
6. Place the wet painted fabric to dry in one area of the
room and ask the class to briefly gather around to
talk about their work. Discuss together the different
patterns created. Invite students to share challenges and
successes from the day.
Adding fabric to the upholstery border
Class Discussion and Geometric and
Upholstery Border
1. Pre-cut or demonstrate to students how to cut strips
of upholstery fabric and layer them on top of the outer
border, creating a pattern of their choice. The entire frame
is created through a patchwork of fabric pieces, much like
the border found in Ringgold’s quilt piece. The cut pieces
should fit within the 2” border.
PREPARATION
2. Demonstrate for students how to glue the upholstery
fabric onto the quilt using Tacky Glue and a glue brush.
Session Two
sPre-cut 2” x 2” all upholstery fabric squares.
sGather pencils, rules, color pencils, 8 ½” x 11”
drawing
paper, paints, brushes, palettes, water cups, paper towels,
glue, and glue supplies, scissors, and upholstery fabric
squares.
sSet up all supplies on tables.
Class discussion on pattern
As a class, look for and explore the many patterns found
in Ringgold’s quilt work and other selected works. Define
pattern as a reoccurring design element using shapes and
colors that repeat themselves in a predictable manner.
Discuss why are patterns an important design element in
quilts, how do they convey a visual rhythm, and why are they
an important design element found in many works of art.
Designing and painting geometric shapes border
Note: If students are young and painting may prove too time
consuming or challenging for the group, consider using a
solid color border or a pre-cut patterned, fabric or paper
border and have students glue it onto the fabric.
3. Encourage students to think about how Ringgold selected
her fabric pieces for her quilt piece. Ask students to think
about how their fabric choice will help tell their story and
complement the design of the entire quilt.
4. Once all the pieces are selected and cut, students should
arrange the shapes within the outer frame of their fabric.
5. Once the students are happy with their fabric pattern
design, have them glue down the fabric pieces. The top
and the bottom of the frame should be glued on first.
Session Three
Class Discussion and Printmaking
PREPARATION
sGather
5” x 7” white drawing paper for sketching, pencils,
5” x 7” scratch-foam board, water-based markers, squirt
bottles with water, and Sharpies. Set up all supplies on
tables.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
6
Class discussion and motivation
Share with the class a significant moment in your life, a life
experience that changed you in a positive way. Encourage
students to begin thinking about their own experiences in
life, and pose for them the following questions: What is the
most important thing that has happened to you? What are
you most proud of? Where is your favorite place to go? What
is your greatest dream? Encourage students to write their
answers on a piece of paper.
Sketching and engraving
Demonstrate how to sketch a 5” x 7” image that helps
narrate a significant moment in your life. Include a central
figure in your sketch and a background that reflects where
this experience took place.
1. Ask students to do the same and encourage them to keep
their sketch simple. They should sketch various scenarios
before choosing the one that they like best.
Ringgold’s images, have students outline their silhouette
and major shapes in their print using Sharpie markers.
The print will naturally create a “white/clear” contour line
around most shapes. This clear outline will serve as a
guide for the back outline. Do not encourage students to
draw inside the shapes as too many outline details within
small shapes can get muddy.
Session Four
Adding Text And Wrap Up
PREPARATION
sGather
sSet
pencils, white paper, ruler and black sharpies.
up all supplies on tables.
ADDING TEXT
2. As students work on their sketch, walk around and ask
them about their experience. Have them explain their
story to you and how they are representing it in their
drawing.
1. Discuss how text will help tell your
story. How did Ringgold use text in her
work? Share with students the details
about the moment in your life that you
chose as inspiration. Ask students to
think about what the person in their
image would say to them if he/she
could talk.
3. Have students place their finished sketch on top of their
foam plate (image side up).
4. Attach small pieces of masking tape on all four edges of
the paper – to secure it in place.
5. Using a dull pencil or stylus, have students trace their
entire image onto their foam plate.
Pulling the print
1. Quickly discuss how Ringgold used printmaking (handcolored etching) to create her story images in the quilt
piece. Explain to students that they too will create a
colored print image of their story for their quilts.
2. Spritz water onto the center area of the quilt, where
the print will be made. Allow time for the water to soak
through the fabric before printing.
3. Have students color directly onto their 5” x 7” foam plate
using water-based markers. Encourage students to fill in
the entire plate, leaving no white areas.
4. Check to see the fabric is ready for printing: fabric should
be damp and free of water droplets on the surface.
2. On the board, write down in two or three sentences how
the person pictured on the quilt might describe what is
going on. Then, come up with a different set of sentences
and as a class decide which set of sentences best
completes your story.
3. Once you have selected the text, use the Sharpie marker
and write it directly below your image. Tip: consider using
the ruler to draw lines on the quilt where the text will be.
4. Encourage the students to discuss amongst themselves
the different text possibilities that they could use on their
own quilts.
5. Ask them to write down on a piece of paper the text
they would like to include. Have students double check
spelling, grammar, and punctuation before they begin
writing on their quilt.
5. Using an example plate, demonstrate for students how
to pull a print: quickly turn the plate over (ink side down)
and carefully place in the center area of the quilt. If the
other components have been accurately measured, the
print image should fit perfectly within the remaining white
space of the fabric.
6. Once this final step is complete, have an exhibition in
the classroom. Hang the quilts or lay them on tables/
desks and have students walk around and view them.
Ask students to share what they like about the work they
are looking at, what they would have done differently,
and what they have learned about themselves and their
classmates through this project.
6. Use your hands to rub the entire back of the printing plate
in circular motions.
TEACHING TIPS
7. Carefully peel-back one corner of the foam printing plate
and slowly remove it from the fabric. The color from the
plate should have transferred onto the fabric. Do not
be concerned if the image is slightly grainy, as this is
intentional and is meant to mimic the texture in Ringgold’s
etchings.
8. Have students do the same.
9. To mimic the black outlines found within the shapes in
7
2012 EDUCATORS’ ART FAIR | Behold, America!
sEmphasis
should always be on the process. Encourage
students to enjoy each step of the art making process and
not judge their success or failure solely on the finished
work.
sAfter
each step, have students re-examine the same step in
Ringgold’s work.
sSpend
time discussing how the various patterns in their
quilt help tell their story.
sKeep
paper towels and water cups handy when students
are painting their geometric borders. Have students clean
their brush (rinse and dry) every time they switch colors.
sDiscourage
students from adding words or letters on their
foam printing plate. Keep in mind that the final image on
the fabric will be the reverse/mirror image of the etched
drawing.
EXTENSION ACTIVITIES
Lower grades (elementary)
Consider having students work together to create a painted
quilt as a class. Modify the lesson plan so that each
student pulls a single print directly onto the collective quilt.
Assemble images as a class and create one multiple image
composition. This collective piece will be larger than that
needed for single works, thus requiring a large size felt and
cotton fabric.
Upper grades (middle and high school)
Have students write a research paper on Faith Ringgold,
the history of African American quilts in the United States or
write and illustrate their own children’s book.
ADAPTATION SUGGESTIONS
Seven Passages to a Flight, 1995
Faith Ringgold
Printed book
The San Diego Museum of Art
WEB RESOURCES
Behold, America! Exhibition Website
www.beholdamerica.org
Faith Ringgold
Website: http://www.faithringgold.com/ringgold/default.htm
Blog: http://faithringgold.blogspot.com/
How to mix colors
http://www.gotcs.com/news/colormixing.pdf
LITERARY RESOURCES
Seven Passages to a Flight
Faith Ringgold
Brighton Press, 1995
Tar Beach
Faith Ringgold
Crown Publishers, Inc., 1991
This particular lesson is geared towards upper elementary
aged students, but the art process is easily adapted to suit
younger and older students.
Getting to Know the World’s Greatest Artists: Faith Ringgold
Mike Venezia
Children’s Press 2008
For younger students (grade K-2)
AUDIO-VISUAL RESOURCES
Consider preparing various, basic templates of the human
figure. Students can use these guides while working on
their story engravings. Precut 2” and 1 ½” strips from stiff
cardboard, have students use them as an aid in tracing
their borders. Printed-fabric or paper can be used on the
piece boarder as an alternative. The project size can also
be modified to suit the needs of the class. For a smaller
scale project consider a 9” x 11” painted quilt with the outer
border measuring 1 ½”, the inner border measuring 1”, and
the print area measuring 4” x 6”.
For older students (grades 6-12)
Introduce basic sewing techniques to the students and
have them hand stitch their final border. As is traditional
in quilt making, this step would be the last step taken
before completing the quilt. Encourage students to create
geometric shaped stencils and use them to create the inner
border of their quilt. Also, invite students to hand paint
details onto their fabric piece border as a final step.
Faith Ringgold: The Last Story Quilt
Created and Produced by Linda Freeman
Written and Directed by David Irving
http://www.landsvideo.com/vcat.shtml
Faith Ringgold: Paints Crown Heights
Created and Produced by Linda Freeman
Written and Directed by David Irving
http://www.landsvideo.com/vcat.shtml
Faith Ringgold on YouTube
www.youtube.com
MATERIAL RESOURCES
Upholstery Fabric Outlet
http://www.ufofabrics.com
RESOURCES
Related work currently on view at
The San Diego Museum of Art
Seven Passages to a Flight, 1995
Faith Ringgold
Hand-stenciled quilt
The San Diego Museum of Art
Institutional support for the Museum is provided by the City
of San Diego Commission for Arts and Culture.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
8
Faith Ringgold-Inspired Painted Story Quilt Notes
9
2012 EDUCATORS’ ART FAIR | Behold, America!
Symbolic Idea Map Identity
Museum Exhibition Inspiration: In the Library, 1900, John Frederick Peto, Timken Museum of Art,
Putnam Foundation Collection
Grade Level: Middle School (Grades 6-8), Adaptable to all grade levels
Author: Elizabeth Washburn, Artist and Educator
GENERAL DESCRIPTION
In the Library (1900), an important still life painting by nineteenth century American painter John Frederick Peto on view
at the Timken Museum of Art in the Forms portion of the exhibition Behold, America!: American Art from Three San
Diego Museums, reflects the artist’s signature trompe l’oeil (fool the eye) style and uses ordinary objects found in realistic
arrangements as the central subject. Influenced by the Philadelphia tradition of still-life painting, including the work of
such artists as Raphael Peale and John F. Francis, Peto’s artistic efforts show the same adeptness at creating fine still lifes
of commonplace objects as those of his contemporaries. The objects that Peto chose to include in this large oil painting
depicting a disorderly arrangement of well-worn volumes on a draped table, are familiar rather than the exotic, drawing from
his own life and surroundings and revealing the interests of the artist himself.
In this lesson, presented by the Timken Museum of Art, students will learn how artists communicate about themselves using
words and pictures. Using a combination of words and images in a collaged map form that they create, students will learn to
artistically combine symbols and words that represent their interpretations of the title of Peto’s painting and reveal something
about themselves at the same time.
OBJECTIVE
Students will:
sbe
taken through a Visual Thinking Strategies (VTS) session
to learn how to analyze a painting’s content.
spractice
slearn
utilizing a graphic organizer to generate ideas.
to problem solve creatively and without criticism.
slearn
how to communicate symbolically with words and
pictures.
sorganize
and edit their ideas.
screate
a map of words and images that relates to their
thoughts and ideas surrounding a central theme.
Project time: Allow approximately four hours, in
four separate, one-hour sessions, from introduction to
completion. Additional time may be required depending on
the amount of detail desired.
Prep time: Allow approximately two hours after session
two to collect images for your students to use, in the event
that they did not have enough time. Preparation before class
should only require 20 minutes.
VOCABULARY
Introduce the project and discuss associated vocabulary
words (Visual Art Vocabulary): collage, color palette,
contrast, mood, personal narrative, primary theme,
secondary themes, still-life, symbolism, and tone. Please
see appendix for vocabulary definitions.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
10
CALIFORNIA STATE STANDARDS
Brainstorm
Please see appendix.
1. Read aloud the title of the painting and ask students to
independently write down what they think of when hearing
it. Emphasize that there are no right or wrong answers and
that the only important factor is that their interpretation be
their own.
MATERIALS
Please see appendix for online and San Diego art suppliers.
Idea map:
sSketch paper and pencils (for all students)
sWhite poster board (as a drawing/collaging surface)
sColored Pencils or markers
sModge Podge and applicator (foam brush or paint brush)
sAcrylic paint and brushes (optional)
sScissors
sGraphic organizer (free for downloading and classroom use
at http://www.eduplace.com/graphicorganizer/pdf/cluster.
pdf)
sComputer/printer (optional)
PREPARATION
sPrior
to implementing the lesson, create a finished example
of the project, as well as additional samples that illustrate the
steps of the project (goals for each day). Even if you choose
not to share these works with students, they will help you
have a better understanding of the lesson. *Also be sure to
read the VTS descriptor below.
sVisual
Thinking Strategies: A process of looking at artwork
created by Philip Yenawine, Museum Educator and Abigail
Housen, Cognitive Psychologist. With VTS, the facilitator’s
role is not so much to impart facts, or manage drill and
practice, but to facilitate the learner’s process of discovery
– encourages learners to discover new ways to find answers
to their own questions. The process is made up of the three
questions:
1. What is going on in this picture?
2. What do you see that makes you say that (provide
evidence)?
3. What more can you find?
Session One
Introduction to the Project/VTS Session/
Creating a Graphic Organizer
PREPARATION
sPractice
running a VTS session and familiarize yourself with
the Peto painting or other selected work.
sPass out one sheet of scrap paper to each student.
sPrint out graphic organizer sheets for all students.
Class discussion (VTS Session)
Project an image of In the Library in the classroom (available
at www.TimkenMuseum.org) or arrange a visit to the Timken
Museum of Art and run a VTS session revolving around the
painting. Allow students to be free to interpret the painting in
any way that they choose. This practice of interpreting a work
of art without guidelines will assist them later when it is time
for them to connect the painting with themselves.
11
2012 EDUCATORS’ ART FAIR | Behold, America!
2. If necessary, provide students with an example to help
them begin. Be sure to not have them share their ideas
until later to prevent students from borrowing ideas from
one another.
3. Ask students to pull out the graphic organizer titled
“Cluster/Word Web 1” and write their interpretation of the
title of the painting in the blank labeled “Topic.” Explain
that this topic will be their primary theme.
4. Next, have students create four secondary themes that
revolve around the primary theme.
For example: Topic- Studying in the library for an art
history test.
Four secondary themesa. Solitude
b. Concentration
c. First year of college
d. Favorite subject
5. Emphasize how important it is for students to come up
with their own ideas.
6. Ask students to fill in the four secondary themes on their
cluster organizer.
7. Finally, if there is time, or for homework, ask students to
come up with two descriptive words that focus on sensory
details; sight, smell, touch, hearing, and taste, for their
four secondary themes.
For example:
a. Solitude- quiet, peace
b. Concentration- stale, hard
c. First year of college- soft serve ice cream, waste
d. Favorite subject- passion and beauty
Session Two
Understanding Symbolism
PREPARATION
Prepare images for an example Idea Map to share with
students that reflect selected primary and secondary themes.
Class discussion
Project the Peto painting in the classroom for reference
purposes. Define symbolism and share the example Idea Map
with the class. Highlight the process taken to find images
that symbolize the primary and secondary themes. Ask for a
volunteer to share their graphic organizer with the rest of the
class. Then, ask the class to imagine images that could be
paired with the themes from their peers’ work. Write these
ideas on the board.
Research images
1. Using computers, instruct students to go to Google
Images to find pictures that are symbolic of their ideas
from their graphic organizer. If printing pictures is not
possible or computers are not accessible, have students
draw symbolic images on separate sheets of paper.
Reinforce that the images they either make or print need
to relate to their primary and secondary themes in some
way but do not need to match exactly.
2. Provide students with the remainder of the class time
to accumulate and create symbolic imagery. Share with
students that the image chosen as the primary theme
MUST be larger than all of the other images because it
will be the focus of the work.
3. Collect the imagery for the next class period.
4. Magazine images (optional)
Session Three
Creating the Idea Map Poster
Class discussion
2. Provide students with art materials already found in the
classroom, i.e. markers, colored pencils, paint, glitter,
tissue paper etc.
3. Do a quick demonstration with the art materials to show
students how they can draw on top of and around the
images pasted on the poster board.
4. Demonstrate how students can use words in lieu of
images and write the words in a decorative font.
5. Walk around encouraging students and holding up
examples of student work where unusual or creative
approaches are being taken.
Session Four
Complete Idea Map and Gallery Walk
Class discussion
Select a few student examples of creative Idea Maps and
ask those artists to explain to the rest of the class the
process they took and what their Idea Map reveals about
them. This is a good time to provide positive feedback to
students on the work they have done.
With the example Idea Map in hand, review with students
what symbolism means and how images and words can be
paired together to enhance meaning.
Complete idea Map
Symbolic imagery
Gallery walk
1. Ask students to retrieve their images and lay them out on
poster board.
1. Students should place their work face up on their desks
and place a piece of blank paper with a pencil next it.
2. Instruct students to edit out any unwanted images
and narrow down their image selections into the most
important components.
2. Instruct students to write positive and constructive
feedback on the papers next to their peers’ works.
3. Once students have selected which images they
would most like to use, instruct them to lay the image
representing their primary theme in a location of their
choosing. The primary image does not have to be placed
in the center of the work, but it must be the largest image
in the work.
4. Ask students to lay out their secondary themes around
their primary theme, similar to, but not exactly like, the
format of the graphic organizer.
5. After the secondary themes have been placed on the
poster board, have students add the descriptive pictures
that reinforce the secondary themes.
6. Encourage students to take their time to figure out how
they would like to arrange their images on the poster
board before gluing them down. Walk around and provide
help and encouragement to those who need it.
Encourage students to take pride in their work and be sure
that their maps are as finished as possible.
3. At the end of the gallery walk, ask students to reflect on
the project and to share what they liked about it and what
they think might have made the project better.
TEACHING TIPS
sWhile
going through demonstration steps each day, be sure
to model the tasks and point out good practice.
sWrite
out the steps of the process on the board each day.
ADAPTATION SUGGESTIONS
This particular lesson is geared towards upper elementary
aged students, but the art process is easily adapted to suit
younger and older students.
For younger students (grades K – 5)
7. Once students have selected the final arrangement for
their images, pass out Modge Podge and applicators,
and have students glue their images to the poster board.
Select another painting within the exhibition, follow the
same process outlined in this lesson, but gear the theme
of the idea map to address specific points of focus in your
curriculum.
Adding decoration and detail
For older students (grades 9-12)
1. At this stage of the project, students are encouraged
to be as creative as possible. The only mandatory
instruction for students is that they must cover all of the
white of the poster board. Explain to students that a white
background will make their project appear unfinished.
Ask students to write an artist statement describing their
idea map.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
12
RESOURCES
Related work currently on view at the
Timken Museum of Art
After Many Days
Thomas Hart Benton, 1940
The San Diego Museum of Art Permanent Collection
The Magnolia Blossom
Martin Johnson Heade, 1888
Timken Museum of Art. Putnam Foundation Collection
Merganser
William Harnett, 1883
The San Diego Museum of Art Permanent Collection
WEB RESOURCES
Behold, America! Exhibition Website
www.beholdamerica.org
How to Mind Map
http://www.youtube.com/watch?v=4wZ5wV5dPZc
John F. Peto Museum Website
http://petomuseum.org
Education Programs at the Timken Museum of Art are
supported by The Legler Benbough Foundation, the City of
San Diego Commission for Arts and Culture, the Helen K.
and James S. Copley Foundation, the County of San Diego,
the Samuel I. & John Henry Fox Foundation, The J. Douglas
and Marian R. Pardee Foundation, The Parker Foundation,
the Patrons of the Prado, San Diego Gas & Electric, US
Bank, the Mandell Weiss Charitable Trust, and the Wells
Fargo Foundation.
13
2012 EDUCATORS’ ART FAIR | Behold, America!
Symbolic Idea Map Identity Notes
Mapping Identity
Museum Exhibition Inspiration: Triptych: Migration Path, 2007, Iana Quesnell, Museum of Contemporary
Art San Diego Permanent Collection
Grade Level: High School (Grades 9 – 12), Adaptable to all grade levels
Author: Alison Hendrickson, Education Intern for School and Tour Programs and Education Staff
GENERAL DESCRIPTION
How people navigate their surroundings can shape their identity and create for them psychological associations with places.
Individuals incorporate places into the larger concept of self which range from intangible conceptions to specific physical
settings. Iana Quesnell (American, 1969) is an artist who explores “the underlying codes that dictate our daily interaction with
our surroundings,” contending with personal, social, cultural, political, economical, and technological ideologies. In her work
Triptych: Migration Path, on view at the Museum of Contemporary Art San Diego in the Frontiers portion of the exhibition
Behold, America!: American Art from Three San Diego Museums, Quesnell maps her movements as she crosses the U.S.–
Mexico border. This large pencil and graphite drawing charts the artist’s path from her former art studio at the University of
California, San Diego to her home in Tijuana, Mexico. Her work has the quality of multi-dimensional maps that follow her
movements through a specific territory, exploring spatial connections and narrowing on areas where she settles for periods
of time.
In this lesson, presented by the Museum of Contemporary Art San Diego, students will explore the way in which artists
convey identity without use of the human form and how the method of mapping, an examination of how the subject is
spatially located within an environment, involves charting not just geographic coordinates but socioeconomic realities,
historical data, and personal experience. From there, students will fully investigate their own surroundings and work
collaboratively to create a map that provides insight into their own identities and connections to place.
OBJECTIVE
Students will:
Project time: Allow approximately an hour and a half from
sidentify
ways that artists convey identity without using the
human form.
sidentify
places that are central to their identity.
sidentify
how their surroundings are socially, politically,
economically, and culturally arranged.
suse
mapping as a springboard for art making.
start to completion, split into two 45-minute sessions.
sFirst
session: pre-project discussion, procedure stage one:
brainstorming
sSecond session: procedure stage two: project
Prep time: Allow approximately one hour and a half to
research, prepare examples, and gather materials.
swork
collaboratively to draw a map of significant places in
their city or neighborhood that provides viewers with insight
into their identity.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
14
VOCABULARY
Introduce the project and discuss associated vocabulary
words: border, boundary, identity, map, migration, place,
and triptych. Please see appendix for vocabulary definitions.
CALIFORNIA STATE STANDARDS
Please see appendix.
MATERIALS
Please see appendix for online and San Diego art suppliers.
s1 sheet of 14” x 17” tracing paper for each student
sStudio drawing pencils of varying hardness
sPencil erasers
sColored pencils
sFine point permanent black markers
sRulers
s14” x 17” printed copies of maps for each student (use
local
transit map, map on city’s website, or maps.google.com to
find desired territory and zoom length)
PREPARATION
Pre-project class discussion: (30 minutes) (available
at www.mcasd.org)
Through a prepared visual or through an arranged visit to the
Museum of Contemporary Art San Diego, show students Iana
Quesnell’s Triptych: Migration Path as a whole and the panel
details. Allow students to carefully and quietly observe the
work before talking about it. Use the questions given below to
guide the discussion. Visual inquiry questions should provide
you with a method to discover the visual qualities of the
artwork. Interpretative questions will allow you to use factual
information to understand the artwork and how it relates to
the theme of identity.
1. Visual inquiry questions: exploring what you see
Begin with a specific question about the students’ first
impressions of the work. For example: What is the first thing
you notice about this work? What associations come to
mind? What do you see that makes you say that? If you were
going to describe the work to someone who had never seen
it, what adjectives would you use? Why? What do you notice
about the organization of this image? What impact does it
have and why? Follow by exploring formal qualities of the
work such as composition, materials used, scale, color, etc.
What images, materials, symbols, or texts do you recognize?
Integrate factual information about process, composition, and
materials with student responses. Follow up by asking: How
do the work’s materials or form suggest what the work might
be about? Why do you think the artist chose to use these
images/materials/symbols/texts?
2. Interpretive inquiry questions: exploring meaning
1. Provide factual information about the work including
title, date, artist, and background information.
2. Tell students that this drawing conveys a sense of
identity through non-figurative means by representing
a map of the artist’s daily movements between
significant places in her life during one period of
15
2012 EDUCATORS’ ART FAIR | Behold, America!
time. Communicate to students that a person’s
surroundings and interactions with places can provide
insight into their identity and what they find important.
3. Allow students to consider and integrate the
information you have shared: How does this work
relate to that concept?
4. Give students time to form their own interpretations
and to support these interpretations with visual
evidence: What do you see that makes you say
that? How would you describe aspects of the artist’s
identity based on what you see? What details support
your interpretation? What identifies the artist based
on the places she includes in her drawing? How do
these selected places serve as clues for how the artist
represents herself? What can we learn about the artist
from looking at this drawing? How does the artist tell
you about these places? What kind of social, political,
and/or cultural attributes would you include in a
drawing of places that relates to you? What can you
learn about a person from a map of the daily paths
they take and the places that they visit?
5. Share information on the artist’s overall practice.
Encourage students to make connections to the larger
world and to other social contexts and to connect
ideas to the overall theme of the Behold, America!
exhibition.
PROCEDURE
Stage one: brainstorming (15 minutes)
1. First, have students consider their perceptions of the
artwork including materials, theme, artist’s background,
etc.
2. Ask students to brainstorm a list of places that they might
include on their own “migration path.” These places may
include significant physical and geographical locations that
they migrate to during their day to day movements and
activities. They can include places in the community that
they may not encounter everyday but that have impacted
their lives perhaps through a moving experience or
physical setting.
3. Have students consider why these places are significant,
ways in which the place represents them, and what these
places convey about their identity/who they are.
4. Have students consider how the places function. Have
students consider the places’ cultural, social, political, and/
or economic relations in the community.
Stage two: project (45 minutes)
1. Divide students into small groups of 4 or 5 with their
materials.
2. Each student will trace the provided map of the territory
onto their tracing paper.
3. Instruct students to collaboratively create a key for their
map so that visible connections can be made later in
the project. For example, the key could use colors to
differentiate types of places. Blue could be used to draw
students’ houses. Red could be used to draw the school.
Yellow could be used to draw civic buildings such as the
public library. The key could also incorporate different
types of drawing materials (pens, pencils, markers, etc.)
to represent the various types of places.
4. Instruct students to individually plot the places that they
brainstormed onto their traced maps to create their own
“migration path.”
5. Have students draw their maps based on how they
imagine/visualize their surroundings. Students may
choose to incorporate ideal places which may not
currently exist but that they feel would benefit them or the
community. Encourage students to draw more detailed
areas of the significant places as Quesnell does.
6. Once students are done drawing, have each group layer
their maps to see visual connections and differences
(places that are shared, difference in routes, etc.).
7. Have the groups of students prepare to present their
drawings to the class in a short presentation describing
what they included on their maps and how the layers
relate to or differentiate from each other. Have students
describe how their work relates to the concepts
discussed during the Pre-Project Class Discussion.
Students may reference the Interpretive Questions
previously posed when describing their own work such
as: How would you describe aspects of the artist’s
identity based on what you see? What details support
your interpretation? What identifies the artist based on
the places included in the drawing? What can we learn
about the artist from looking at this drawing? How does
the artist tell you about these places? What kind of social,
political, and/or cultural attributes would you include in a
drawing of places that relate to you? What can you learn
about a person from a map of the daily paths they take
and the places that they visit?
Project Example:
sHave
students create a guidebook to narrate their paths.
Have students write why they chose to incorporate the
places on their maps. Have students discuss how they
are represented by the places on their map and to discuss
how the places on their map relate to the identity of the
community and its inhabitants. How have these places
been shaped by the identity of different cultures and/
or social groups in the community? What are the social,
political, economic, and cultural associations of these
places?. The guidebook could include research that
students have done on an aspect of their map (history of a
street name, area of the city, or a building/business, etc.).
Students may incorporate photographs of these places into
their guidebook to compliment their written narrative. Have
students present their guidebook to the class in a short
presentation.
ADAPTATION SUGGESTIONS
This particular lesson is geared towards upper elementary
aged students, but the art process is easily adapted to suit
younger and older students
For younger students (grade K-5)
Stage One: Brainstorming (15 minutes)
Ask students to brainstorm a list of places that they might
include on their own “migration path.” Discuss what is a
migration, ask students to list places they may encounter
when traveling between school and home, the places they
migrate to during their day to day , places in the community
that have impacted their lives perhaps through a moving
experience or physical setting. Have students consider why
these places are significant to them and what these places
convey about their identity/who they are. Tally the types of
places that are relevant to students and present them to the
class so they can make connections between shared places.
Stage two: project (45 minutes)
Have students gather their project materials and work
independently to create a “migration path” (a map with the
route they take each day) of places where they go each day.
Students may choose to draw a path from home to school,
as home is the environment of primary importance, followed
by neighborhood and school.
Have students draw their maps based on how they imagine/
visualize their surroundings.
TEACHING TIPS
sWe
hope this lesson plan has inspired you to explore
concepts of identity, mapping, and community. To learn
more about the artists, artworks, and themes included
in this lesson, please use the links to resources provided
below.
EXTENSION ACTIVITIES
an image of Maya Lin’s artwork Atlas Landscape:
Rand McNally The New International Atlas (2006) to show
a second example of how artists use mapping as an art
form and discuss what ideas and themes she represents.
Allow students to respond to Lin’s work by comparing it to
Quesnell’s work visually and thematically.
sDisplay
Encourage students to draw more detailed areas of the
significant places as Quesnell does using different types
of lines, shapes, etc. Have them prepare to discuss their
drawings and why the places they chose to include are
important to them, or what they tell the viewer about their
identity/who they are.
For middle school students (Grades 6 – 8)
Stage one: brainstorming (15 minutes)
Ask students to brainstorm a list of places that they might
include on their own “migration path.” These places may
include significant physical and geographical locations that
they migrate to during their day-to-day movements and
activities. They can include places in the community that
they may not encounter everyday but that have impacted
their lives perhaps through a moving experience or physical
setting.
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
16
Have students consider why these places are significant,
ways in which the places represent them, and what these
places convey about their identity/who they are.
Instruct students to take photographs of their significant
places to contribute to Stage Two: Project.
Stage two: project (45 minutes)
Create a collaborative map using Google Map’s feature My
Places (maps.google.com/maps/MyPlaces). Scan and/or
import the students’ photographs to create a map of the
community’s significant places. Have students prepare to
present their photographs on the map and describe why they
chose to include these places. Have students explain how
these places represent them. Have students explain how
these are significant places and how they function within
the community. Students may reference the Interpretive
Questions previously posed when describing the map,
such as: How would you describe aspects of the artist’s
identity based on what you see? What details support your
interpretation? What identifies the artist based on the places
included in the map of photographs? What can we learn
about the artist from looking at this map of photographs?
How does the artist tell you about these places? What can
you learn about a person from a map of photographs plotting
places along their daily paths?
Artwork of Elizabeth Chaney, http://www.mcasd.org/
programs/teen-art-council-presents-night-forks-film
This is a direct link to MCASD’s webpage posting of
Elizabeth Chaney’s teen program exploring the movement
of people across countries and continents and meditates
on unfinished journeys, all issues that relate to Quesnell’s
treatment of her movement over the United States-Mexico
Border.
“Maya Lin: Systematic Landscapes at the Museum
of Contemporary Art San Diego”, artdaily.org. April 6,
2008. http://www.artdaily.com/index.asp?int_sec=2&int_
new=23788
RESOURCES
Behold, America! Exhibition Website
www.beholdamerica.org
Museum of Contemporary Art San Diego, Triptych: Migration
Path, http://www.mcasd.org/artworks/triptych-migrationpath
This is a direct link to the artwork on MCASD’s website.
Pincus, Robert L., “The student steps out”, San Diego
Union-Tribute. October 18, 2007. http://www.utsandiego.
com/uniontrib/20071018/news_lz1w18pincus.html
Pincus, Robert L., “Behind the scenes”, San Diego UnionTribute. December 1, 2006. http://www.utsandiego.com/
uniontrib/20061201/news_1c01prize.html
These articles discuss Iana Quesnell’s previous exhibitions,
artwork, and practice.
Kelly, Patricia. “Mapping as Practice, or Finding the Subject
in American Art circa 1970”, Behold, America! catalogue.
This catalogue essay examines mapping as a contemporary
art form, artists who use mapping in their practice, and
ideas/themes addressed in such artwork.
Hauge, Ashild Lappegard. “Identity and Place: A Critical
comparison of three Identity Theories”, Architectural Science
Review, March 1, 2007.
Livingstone, D. “Space, Place, Identity”, Geographical
Approaches. 1992. http://socgeo.ruhosting.nl/html/files/
geoapp/Werkstukken/SpacePlaceIdentity.pdf
These articles address prevailing identity theories in relation
to place and space. They discuss how identity is shaped by
one’s surroundings.
17
2012 EDUCATORS’ ART FAIR | Behold, America!
This article discusses Maya Lin’s artwork exhibited at
MCASD.
The Center for Urban Pedagogy. http://welcometocup.org/
CUP is an organization that uses art to improve civic
engagement. CUP encourages the public to participate in
shaping their community through the understanding of urban
policy and planning issues.
This is the inquiry-based methodology used by the Museum
of Contemporary Art San Diego to inspire engagement with
contemporary art and ideas.
Mapping Identity Lesson Plan was developed by MCASD
Education staff and Summer Intern, Alison Hendrickson
and presented by Artist and MCASD Gallery Educator, Amy
Sanchez.
Education Programs at MCASD are supported by
Qualcomm Foundation, the County of San Diego Community
Enhancement Fund, the Samuel I. & John Henry Fox
Foundation, the Price Family Charitable Fund, the Chula
Vista Target Store and contributions to MCASD’s Museum
Fund.
Institutional support of MCASD is provided, in part, by the
City of San Diego Commission for Arts and Culture.
Mapping Identity Notes
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
18
California State Content Standards
The content standards are organized by lesson plans in the How-To Guide Source: CA Department of Education website
http://www.cde.ca.gov/be/st/ss/index.asp
FAITH RINGGOLD-INSPIRED PAINTED
STORY QUILT
7th Grade Visual and Performing Arts
Grade Level Three Visual and Performing Arts
5.3 Examine art, photography, and other two- and threedimensional images, comparing how different visual
representations of the same object lead to different
interpretations of its meaning, and describe or illustrate the
results.
1.5 Identify and describe elements of art in works of art,
emphasizing line, color, shape/form, texture, space, and value.
4.5 Identify what was done when a personal work of art was
reworked and explain how those changes improved the work.
2.2 Mix and apply tempera paints to create tints, shades, and
neutral colors.
8th Grade Visual and Performing Arts
2.4 Create a work of art based on the observation of objects and
scenes in daily life, emphasizing value changes.
4.1 Define their own points of view and investigate the effects on
their interpretation of art from cultures other than their own.
3.2 Identify artists from his or her own community, county, or state
and discuss local or regional art traditions.
4.3 Construct an interpretation of a work of art based on the form
and content of the work.
Grade Level Four Visual and Performing Arts
5.3 Demonstrate an understanding of the effects of visual
communication on all aspects of society.
Grade Level Three thru Five Visual and
Performing Arts
1.4 Describe the concept of proportion (in face, figure) as used in
works of art.
1.5 Describe and analyze the elements of art (e.g., color, shape/
form, line, texture, space, value), emphasizing form, as they are
used in works of art and found in the environment.
2.5 Use accurate proportions to create an expressive portrait or a
figure drawing or painting.
3.1 Describe how art plays a role in reflecting life (e.g., in
photography, quilts, architecture).
4.2 Identify and describe how a person’s own cultural context
influences individual responses to works of art.
4.3 Discuss how the subject and selection of media relate to the
meaning or purpose of a work of art.
4.5 Describe how the individual experiences of an artist may
influence the development of specific works of art.
Grade Level Five Visual and Performing Arts
1.1 Identify and describe the principles of design in visual
compositions, emphasizing unity and harmony.
2.7 Communicate values, opinions, or personal insights through an
original work of art.
4.4 Assess their own works of art, using specific criteria, and
describe what changes they would make for improvement.
SYMBOLIC IDEA MAP: IDENTITY
Grade Level Six thru Eight Visual and
Performing Arts
6th Grade Visual and Performing Arts
2.5 Select specific media and processes to express moods,
feelings, themes, or ideas.
3.1 Research and discuss the role of the visual arts in selected
periods of history, using a variety of resources (both print and
electronic).
4.4 Change, edit, or revise their works of art after a critique,
articulating reasons for their changes.
19
2012 EDUCATORS’ ART FAIR | Behold, America!
MAPPING IDENTITY LESSON PLAN
Grade Level Nine Thru Twelve Visual and
Performing Arts
Proficient
1.1 Identify and use the principles of design to discuss, analyze,
and write about visual aspects in the environment and in works
of art, including their own.
1.3 Research and analyze the work of an artist and write about the
artist’s distinctive style and its contribution to the meaning of
the work.
1.5 Analyze the material used by a given artist and describe how its
use influences the meaning of the work.
3.1 Identify similarities and differences in the purposes of art
created in selected cultures.
3.3 Identify and describe trends in the visual arts and discuss how
the issues of time, place, and cultural influence are reflected in
selected works of art.
4.1 Articulate how personal beliefs, cultural traditions, and
current social, economic, and political contexts influence the
interpretation of the meaning or message in a work of art.
Advanced
1.3 Analyze their works of art as to personal direction and style.
2.1 Create original works of art of increasing complexity and skill in
a variety of media that reflect their feelings and points of view.
2.4 Demonstrate in their own works of art a personal style and an
advanced proficiency in communicating an idea, theme, or
emotion.
4.1 Describe the relationship involving the art maker (artist), the
making (process), the artwork (product), and the viewer.
4.2 Identify the intentions of artists creating contemporary works of
art and explore the implications of those intentions.
Visual Art Terms Glossary
The following visual art terms are organized by order of the lesson plans.
FAITH RINGGOLD-INSPIRED
STORY QUILT
personal narrative – a story that is told by and about the
narrator
Visual and Performing Arts Vocabulary:
primary theme – the main plot or focus of a story
composition – the arrangement of the elements of art
secondary themes – subcategories of the main plot or
(color, line, shape, value, texture, and form) in a work of art
focus of a story
contour – the outer edges and ridges of a form
still-life – a drawing or painting of a grouping of objects
engraving – using a sharp tool to make a design onto a
symbolism – the practice of representing things by
printing plate
geometric – shapes or forms that are regular and precise
(e.g. squares, circles, triangles, etc.)
mixed media – a technique involving the use of two or
more art materials in a single composition
piece border – sewing or stitching trips of fabric together
symbols or of investing things with a symbolic meaning or
character
tone – a particular quality, way of sounding, modulation,
or intonation of the voice as expressive of some meaning,
feeling, spirit, etc.: a tone of command
MAPPING IDENTITY LESSON PLAN
to create a border
Visual and Performing Arts Vocabulary:
plate – a prepared surface, usually stone, metal, glass,
border – the part or edge of a surface or area that forms
wood, plastic, or form from which printing is done
primary colors – the colors are red, blue and yellow; these
colors cannot be mixed from or formed by combining any
other colors, and they are the basis of making most other
colors
pattern – a design made by repeating a motif at regular
intervals
print – an impression that is the result of transferring an
image from a print plate onto a surface
quilt – a blanket made by sewing and or stitching pieces of
fabric together
stylus – a scrapping instrument, usually with a sharppointed or chiseled edged
textile – a flexible woven material made out of natural and/
its outer boundary; the line that separates one country,
state, etc., from another; the district or region that lies along
the boundary line of another (noun); to form a border or
boundary to or around; to lie on the border of; adjoin (verb)
boundary – a line that marks the limits of an area; a dividing
line; a limit of a subject or sphere of activity
identity – the combined set of characteristics by which a
thing is definitively recognizable or known
map – a representation of the whole or a part of an area
(noun); to make a survey of for or as if for the purpose of
making a map (verb)
migration – the movement of persons from one region or
country to another
place – particular portion of space with definite or indefinite
or synthetic fibers
boundaries; a geographical space that has acquired meaning
as a result of a person’s interaction with the space
to pull a print – the act of transferring an image from the
triptych – a set of three panels side by side, bearing
printing plate to paper
pictures, carvings, or the like
SYMBOLIC IDEA MAP: IDENTITY
Visual and Performing Arts Vocabulary:
collage – a technique of composing a work of art by pasting
on a single surface various materials not normally associated
with one another
color palette – the colors chosen by the artist in a given
artwork
contrast – an effect in art created by using opposites near
or beside one another; such as a light object next to a dark
object or a rough texture next to a smooth texture
mood – the emotive expression of a given artwork
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
20
Art Resources
Teaching resources, art education activities (locally and around California), professional development opportunities,
and grant resources for teachers.
ART EDUCATION WEBSITE RESOURCES
SAN DIEGO AREA SOURCES FOR ART
CALIFORNIA ALLIANCE FOR ARTS EDUCATION
(CAAE)
Artist & Craftsman Supply
www.artsed411.org
Blick Art Materials (formerly known as The Art Store)
The CAAE promotes, supports, and advocates visual and
performing arts education for pre-school through postsecondary students in California schools. It also sponsors
the Emerging Young Artists Awards to post-secondary
students who intend to pursue a career in the arts.
&OURTH!VENUE3AN$IEGOs
)NDIA3TREET3AN$IEGOs
Teachers receive a 10% discount. Take advantage of their
knowledgeable staff.
Freeform Clay Supply
CALIFORNIA ARTS COUNCIL (CAC)
#LEVELAND!VENUE.ATIONAL#ITYs
www.cac.ca.gov
Salmagundi Arts & Crafts
The California Arts Council provides a variety of arts in
education grants that foster collaborative relationships
between schools and artists, schools and museums.
CORE LEARNINGS
www.sandi.net/depts/vapa/
This presentation of content standards was initiated by
the Visual and Performing Arts Department of San Diego
City Schools to define the standards and how they can be
deepened and applied throughout the grade levels.
INCREDIBLE ART DEPARTMENT
www.princetonol.com/groups/iad/
The Incredible Art Department contains California standardsbased art lessons supplied by practicing art educators for
K-12 educators, as well as links to other art-related online
resources, art education-related chat rooms, resources for
supplies, and job postings in the field of art.
NATIONAL ART EDUCATION ASSOCIATION
www.naea-reston.org/
The NAEA is a non-profit, educational organization. The
NAEA website includes information on the mission and
history of the organization, arts-based lesson plans for
educators, articles on art education, and information on
state and national art education-related conferences and
workshops.
VISUAL AND PERFORMING ARTS STANDARDS
www.cde.ca.gov/be/st/ss/index.asp
This California Department of Education website, adopted
by the State Board of Education in January 2001, offers art
content standards, which can be downloaded.
"ROADWAY,EMON'ROVEs
If no other place has what you are looking for, they probably
have it!
GENERAL ART SUPPLY ONLINE RESOURCES
Discount School Supply
WWWDISCOUNTSCHOOLSUPPLYCOMs
Dick Blick Art Materials
WWWDICKBLICKCOMs
Nasco Arts and Crafts
WWWE.ASCOCOMs
FINE ART MUSEUMS
Mingei International Museum
1439 El Prado, Balboa Park, San Diego
sWWWMINGEIORG
Museum of Contemporary Art
San Diego (Downtown and La Jolla)
1100 Kettner Blvd, San Diego; 700 Prospect St., La Jolla
sWWWMCASDORG
Museum of Photographic Arts
1649 El Prado, Balboa Park, San Diego
sWWWMOPAORG
The New Children’s Museum
200 West Island Ave., San Diego
sWWWTHINKPLAYCREATEORG
Oceanside Museum of Art
704 Pierview Way, Oceanside
sWWWOMAONLINEORG
Timken Museum of Art
1500 El Prado, Balboa Park, San Diego
sWWWTIMKENMUSEUMORG
21
2012 EDUCATORS’ ART FAIR | Behold, America!
Credits
Behold, America! Art of the United States from Three San Diego Museums is a collaborative exhibition organized by
the Museum
of Contemporary
SanUnited
Diego, The
San Diego
Museum
Art, and
the Timken
Museum is
of Art.
Behold,
America!
Art ofArt
the
States
from
Threeof San
Diego
Museums
a collaborative exhibition organized by the Museum
support for the show
provided
by a generous
grant
from the
Qualcommof
Foundation.
ofLead
Contemporary
ArtisSan
Diego,
The San
Diego
Museum
Art, and the Timken Museum of Art. Lead support for the show is
provided
byfunding
a generous
grant from
theHenry
Qualcomm
Foundation.
Further major
has been received
from The
Luce Foundation
and Jake and Todd Figi. Additional
support for the show is provided by SDG&E, US Bank, Mandell Weiss Charitable Trust, RBC Wealth Management,
Further
major funding has been received from The Henry Luce Foundation and Jake and Todd Figi. Additional support for
and the Wells Fargo Foundation. Institutional funding for all three Museums is supplied by the City of San Diego
the
show is provided by SDG&E, US Bank, Mandell Weiss Charitable Trust, RBC Wealth Management, and the Wells Fargo
Commission for Arts and Culture.
Foundation. Institutional funding for all three Museums is supplied by the City of San Diego Commission for Arts and Culture.
Lead Patron
Supporting Patron
Additional Support Provided by
Daniela Kelly
Daniela Kelly earned B.A. degrees in Spanish Literature
and Economics from UC San Diego. She has continued her
studies at San Diego State University where she is currently
pursuing an M.A. in Art History. Daniela has been involved
with San Diego’s underserved communities for many years
and has collaborated with local not-for-profit organizations
as a language instructor and in the organization of
intergenerational workshops on art and culture. As a
Museum Educator at The San Diego Museum of Art, Daniela
teaches youth and teens at alternative schools, community
centers, and at the Museum. Her classes incorporate art
history, studio art, and museum gallery experiences. This will
be Daniela’s first year as an instructor at the Educators’ Art
Fair event.
Alison Hendrickson
Alison is a Museum Studies M.A. Candidate at New York
University and holds a B.A. in Art History from SUNY Albany.
She has interned in the education departments of the The
Jewish Museum, the Museum of Contemporary Art San
Diego and the Timken Museum of Art. Alison developed this
lesson with the support of the education staff at the Museum
of Contemporary Art.
Anne Kindseth
Anne is the Education Associate at the Museum of
Contemporary Art San Diego, where she oversees School
and Teen Programs. Before coming to MCASD, Anne worked
at museums and community arts organizations including
the Art Institute of Chicago, the Museum of Modern Art New
York, and the Manchester Craftsman’s Guild in Pittsburgh,
PA. This will be Anne’s first year assisting with the Educators’
Art Fair.
Amy Sanchez
Amy is a San Diego-based freelance curator, writer, and arts
EDUCATOR3HEISTHECOFOUNDEROFCOGsNATECOLLECTIVEA
bi-national arts collective producing work in and about the
US/Mexico border. Amy also works as the Educator for Teen
Programs at the Museum of Contemporary Art San Diego.
This will be Amy’s first year as an instructor at the Educators’
Art Fair.
Elizabeth Washburn
Elizabeth earned her Masters degree in painting from the
Laguna College of Art and Design in Laguna Beach and
her Bachelors degree in Fine Art from the Academy of Art
University in San Francisco. She has been teaching art for
the Timken Museum of Art as well as multiple public and
private schools throughout San Diego for the past decade.
In addition, she is a teaching artist for the Collaborative
Arts Resources for Education (CARE) Program, and her
expressive arts program with the military helps combat
veterans suffering from Post Traumatic Stress Disorder
reintegrate back into society after their combat deployments.
As a fine artist, Elizabeth is currently represented by Ronis
Fine Art of San Diego, CA and Sue Greenwood of Laguna
Beach, CA, and her work has been exhibited locally and
nationally. This will be Elizabeth’s first year as an instructor at
the Educators’ Art Fair event.
Other Staff
Amy Briere, Manager, Educator and Student Programs,
The San Diego Museum of Art
s Coordinator and Editor for How-To Guide
Kristina Rosenberg, Education Director,
Timken Museum of Art
s Editor for How-To Guide
Cristina Scorza, Education Curator,
Museum of Contemporary Art San Diego
s Editor for How-To Guide
Gaby Beebee, Graphic Artist
s Design of How-To Guide
THE SAN DIEGO MUSEUM OF ART | MUSEUM OF CONTEMPORARY ART SAN DIEGO | TIMKEN MUSEUM OF ART
22
Upcoming Behold, America!
Related Programs
Saturday, November 17, 2012
Family Artlab: Unbound Borders
2:00 – 4:00 p.m.
MCASD La Jolla
Saturday, December 1, 2012
Family Storytelling
11:00 a.m.
Timken Museum of Art
Wednesday, December 12, 2012
Art in the Afternoon Gallery Talk
12:30 p.m.
Timken Museum of Art
Friday, January 4, 2013
First Friday Films: Do The Right Thing
7:00 p.m.
The San Diego Museum of Art
Thursday, January 10, 2013
Artist Talk: Brian Ulrich
7:00 p.m.
Timken Museum of Art
Saturday, January 12, 2013
Second Saturday Workshop: Pastel Portraits
1:00 – 4:00
The San Diego Museum of Art
Thursday, January 17, 2013
Behold, America! A Conversation with Three Directors
7:00 p.m.
MCASD La Jolla
Thursday, January 30, 2013
Artist Talk: Pae White
7:00 p.m.
The San Diego Museum of Art
Friday, February 1, 2013
First Friday Films: The People Speak
7:00 p.m.
The San Diego Museum of Art
Thursday, February 7, 2013
Artist Talk: Eleanor Antin
7:00 p.m.
MCASD La Jolla
For more Behold, America!-related programs and
information, please visit www.BeholdAmerica.org.
YOUNG ART
2013 The Story of Me
What is the purpose of the Educators’ Arts
Fair How-To Guide?
This How-To Guide provides lesson plans
corresponding with the theme of Identity. The
projects outlined can be used in your classroom
for student submissions for the Young Art 2013
exhibition. Teachers are also encouraged to build
upon the concepts discussed at the Art Fair to
create new projects for the exhibition. This guide
also contains resource listings to help teachers
learn more about visual arts.
What is Young Art?
Young Art 2013: The Story of Me will be the 42nd
installation of The San Diego Museum of Art’s
biennial exhibition of K-12 student artwork from
San Diego County schools. This event, a San
Diego tradition, will focus on works of art that
explore the subject of individual identity. Students
will tell the story of themselves through artistic
representations of their culture, traditions, family,
friends, memories, experiences, or physical
appearance.
The theme of Young Art 2013: The Story of Me
connects this installation to the broader exhibition
program of the Museum in the 2012/2013 year.
Educators are encouraged to visit the Museum
throughout the school year to be inspired by the
concept of “identity” as seen in the Museum’s
permanent collection and special exhibitions,
including Behold, America!: Art of the United
States from Three San Diego Museums (November
10 – February 10, 2013).
How can my school participate?
Teacher information packets that detail the
submission process are available. Please email
[email protected] to request an information
packet, and include your name and home or
school address in the message.
Will all of the work submitted be exhibited?
Due to the large number of submissions, the
museum will not be able to exhibit all of the works
submitted. Although the Museum will be unable to
exhibit all of the submitted works, public spaces in
San Diego County are planning to set aside space
to display additional Young Art student artwork.